As an editor, I've always been fascinated by the art of storytelling—how decisions made in the edit suite shape the narrative and emotional resonance of a film or series. Recently, during the Australian Screen Editors' Cutting It Editing Festival, I attended a thought-provoking conversation between ASE president Danielle Boesenberg and Australian Writer's Guild Executive Director Claire Pullen. This session delved into an inspiring topic: editors' royalties and their recognition as contributors to the writing of films.
Editors as Writers: A European Perspective
In certain European countries, editors are not only acknowledged for their technical expertise but are also recognised as writers of films. This acknowledgment stems from the understanding that editing is a creative process akin to screenwriting. Editors sculpt the narrative, refine the pacing, and often rewrite the story in post-production. Consequently, some nations grant editors royalties, much like writers, for their contribution to the final work.
For example, in countries like France and Germany, editors may receive a share of royalties distributed to creative contributors when a film is broadcast, streamed, or otherwise monetized. This approach highlights the cultural value placed on editing as an integral part of storytelling.
AWGACS: Supporting Creative Professionals
Here in Australia, the Australian Writers' Guild Authorship Collecting Society (AWGACS) is a vital organisation advocating for royalties and residuals for writers. AWGACS collects and distributes royalties for Australian screenwriters when their work is exploited in territories that recognize copyright-based royalty payments. The organization plays a pivotal role in ensuring creators are compensated fairly for their contributions.
What many editors might not realize is that they, too, can join AWGACS. This is particularly relevant as conversations around editors’ authorship gain momentum. The best part? Membership is free for eligible editors, making it a no-brainer for anyone interested in exploring their rights as a creative contributor. Join AWGACS here.
Why This Matters
Recognising editors as writers isn’t just about financial compensation—it’s about valuing the unique role editors play in the filmmaking process. Editing is where the story often comes alive, where choices about structure, tone, and character development are solidified. By acknowledging this, we elevate the craft of editing and advocate for a more equitable distribution of creative credit.
The session at the ASE's Cutting It Editing Festival left me inspired to delve deeper into this topic and to encourage other editors to explore opportunities for recognition and royalties. Joining organizations like AWGACS is a practical step toward ensuring that editors are part of these critical conversations.
How to Get Involved
If you’re an editor, consider signing up with AWGACS to learn more about your rights and potential royalties. Membership is free, and it opens the door to understanding and advocating for fair recognition in the industry.
As I have worked in the UK for a lengthy period of time, I am also a member of Screen Craft Rights, a Collective Management Organisation representing the copyright interest of film and television craft authors. If you have worked in the UK, there's a good chance you have payments waiting to be collected. Productions that have payments due are listed by Screen Craft Rights here. If you are an editor and your name is on this list, contact Screen Craft Rights on 07861 411194 or by email at info@screencraftrights.org. to collect your payments.
As the dialogue around editors' contributions evolves, being informed and proactive is key to shaping the future of our profession.